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"Color illustrated glossy wraps. 426 pp., 128 color plates Lists 128 works, all of which are reproduced in striking color. Extensive essays of the artists and paintings."--Publisher's website.
including the destruction of two works in a fire in 1958 - and underscores the resonance of these paintings with the art and artists of the last half-century." --Book Jacket.
Though known as the Danish Golden Age, nineteenth-century Denmark was one of the most tumultuous periods in the nation's history—from the disastrous siege of Copenhagen and the collapse of Denmark's monarchy to the swelling tide of nationalism that eventually engulfed all of Europe. This volume places artists at the center of Denmark's dramatic cultural, political, and philosophical transformation by bringing together 90 drawings, paintings, and oil sketches by Christoffer Wilhelm Eckersberg, Christen Købke, Constantin Hansen, Martinus Rørbye, Johan Thomas Lundbye, Vilhelm Hammershøi, and others. Five thematic essays by leading scholars in Denmark and the United States explore the way Danish artists manifested the pride, traditions, and anxieties of their nation; the sea's ever-changing role as a marker of Danish identity; the evolving nature of portraiture; nostalgia for the Danish landscape and folk traditions; and the influence on Danish artists of their travels throughout Europe.
"Patricia G. Berman, coordinating curator and catalogue editor."
Museum catalogue of Danish 19th century paintings from the Collection of Ambassador John L. Lock, Jr. at the Bruce Museum of Arts and Science in Greenwich, CT March 19, 2005 through June 19, 2005.
An overview and insight into the unique collection of the Norwegian art collector Erling Neby. Erling Neby is the owner of one of the most important and precious private collections of constructivist and concrete art in Europe, and even worldwide. Over a period of thirty years, Neby has been building up a collection which is today unequalled in the Nordic countries and is of international standards and fame. Thanks to more than 200 color plates by such artists as Josef Albers, Olle Baertling, Jean Dewasne, Emilio Gilioli, Jan Groth, Arne Malmedal, Aurelie Nemours, Lars G. Nordström, Jesus Rafael Soto, Victor Vasarely, Thornton Willis, the book gives an inspiring insight into the international constructivist art from the 1940s till today.
Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.
What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.
Eight generations of a prominent American Jewish family unfold in this captivating biography of Adeline Moses Loeb. Combining lively stories by family members with archival and genealogical research, this book is a glowing portrait of Adeline, the daughter of a successful banker, and the family that shaped her. Part one recounts Adeline¿s early life in Alabama and St. Louis, Missouri, and her move to New York after she married Carl M. Loeb, founder of the legendary Wall Street firm of Loeb Rhoades. In part two, Adeline¿s grandson, John L. Loeb, Jr., describes the family¿s close relationship with the Sons of the Revolution and the Daughters of the American Revolution, as well as many national exhibits of early Jewish life sponsored by the Loeb family and the enthusiastic public response. Finally, in part three, historian Judith Endelman chronicles the lineage of the Moses family dating back to the 1600s.
With the words ?A new manifestation of art was ... expected, necessary, inevitable,? Jean Mor? announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist artists broke with the past and paved the way for the heterogeneity and penchant for risk-taking that characterizes modern art. The essays collected here, which consider artists from France to Russia and Finland to Greece, argue persuasively that Symbolist approaches to content, form, and subject helped to shape twentieth-century Modernism. Well-known figures such as Kandinsky, Khnopff, Matisse, and Munch are considered alongside lesser-known artists such as Fini, Gyzis, Koen, and Vrubel in order to demonstrate that Symbolist art did not constitute an isolated moment of wild experimentation, but rather an inspirational point of departure for twentieth-century developments.